Word: charm
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Dates: during 1970-1979
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...killer (Robert Shaw, employing an ornate accent of indeterminate origin), and a youthful ichthyologist named Hooper (Richard Dreyfuss), all theory and wisecracks. Scheider is occasionally too recessive for his own good, while Shaw is too excessive for the good of the film. Dreyfuss, however, is perfect. With a cheeky charm he manages to humanize the picture while stealing...
Their chief distinction is variety. It used to be that every few years yielded a different image. In 1960 it was Jackie Kennedy's finishing-school polish, later Twiggy's innocent charm and the tomboyish Ali MacGraw. But increasingly women refuse to accept anyone else's beauty package. Today the one standard left is the camera's unblinking eye. Margaux is a photographer's ideal, and despite the trend to diversity, hers is the face of a generation, as recognizable and memorable as Lisa Fonssagrives and Jean Shrimpton. When Margaux has her hair...
...forgiven for adoring her father in Ronald Colman (Morrow; $7.95). Still, the early intelligence that the actor was "a man's man but women's idol" gives warning that the book is a family correspondence that has embarrassingly escaped into general circulation. The Briton's jaunty charm and his finely constricted delivery are far better commemorated in Lost Horizon, A Double Life, and other ancients that so persistently prove the durability of celluloid over pulp...
Dollop of Charm. Yet it was Sir Noel's last great commercial success, and it has its virtues-notably as a study of that curious and enduring institution, the show-biz entourage. Like most stars, Essendine cannot live with the fatuities of his followers. Nor can he be without their faithful responses to every shift in pressure registered by his absurdly delicate inner barometer. For their part, his manager, his producer, his ex-wife and the women who will not be denied his bed are ever willing to allow him to quell their exasperation with a dollop of charm...
...Essendine, Douglas Fairbanks Jr. emphasizes the childish charm of his old chum Coward. Theatrically, this is a wise decision. The slightest stress on what can only be called the sadomasochistic implications of Essendine's relationships with his clan could easily spoil the evening. It is much better to let the unbitter truthfulness of the writing steal over one later. Excepting Fairbanks and George Pentecost as a comically clumsy young playwright, the cast, which includes Jane Alexander and Ilka Chase, never quite achieves the sense of giddy weightlessness that a Coward comedy should have. Still, the players at least sense...